Harper's Bazaar (USA)

NOVEMBER 1963

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comb, a matchstick, and a brush—rendered enormous and propped up on the furnishing­s. But Sokolsky found the real source material for the session much closer to home. “My mother’s old kitchen chair was stored in the studio prop room—a simple kitchen chair that I grew up sitting on. I asked the carpenter to scale it up to 10 feet,” he says. “The big chair was placed on the set, and everyone in the studio was climbing up on it and posing. It created a space that demanded interactio­n with the observer.” The original story ran in black and white; the color image seen here was an outtake that has nonetheles­s become one of Sokolsky’s best-known pictures. “The art department thought the image was so weird,” Sokolsky says. “But times and tastes have changed.”

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